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My recent general questions and comments about rigaree / pinchwork gave rise to an unexpected negative reaction and one contributor has requested removal of their own post relating to the subject. I have decided that it would be best to simply remove my post and all others relating it.

There has been a conversation on Collectors Weekly regarding this Life Light shape and some decors a member there is trying to link to Ruckl. It all started with a post on there of an oxblood and white spatter style decor on a vase with a Ruckl label, IMHO, a fairly indistinct decor to start making leaps to attributions of a line of product and a shape. But that is just me.....

Anyways, it is there. I do not know who these Lifelights are by.... although the pink, white and green aventurine is a combination of colors Welz liked and worked with a bit, I think that in order to attribute the shape to anyone for sure, it is absolutely necessary to find an example in an artistically distinct decor which is associated with a particular glass house..... Something I have not seen in over 2 years of looking....

I have stayed out of the discussion on CW for the most part, as the OP and I do not get along at all. There is a version of this shape in a multicolor Honeycomb pattern that was for sale as Welz for months on ebay, and now it is Ruckl.... That is also a version of Honeycomb I have never directly attributed to Welz. This shape could be Welz, could be Harrach, could be Ruckl. I will reserve my opinion a little longer as I have been looking at this particular shape for a couple of years.... All of the decors I have seen them in are not decors I would use to make any kind of solid attribution. The one posted by Glasskillian is one I have not seen before.... It is a fascinating example, but IMHO certainly by the same house as the others..... My personal opinion so far is that this shape is unique to a particular house, and likely not one produced by a variety of glass houses. Which house??? Who knows at this point..... I certainly have my suspicions, but most here know that I do not attribute based on suspicion....

I will provide links to the original post of the Ruckl labeled piece, and also to the postings working their way to the claim these Life Lights are by Ruckl....

Just thought members should be aware of the conversation to form their own opinion since an attribution was suggested for the shape in a particular decor in this thread.

Sorry for the delay... busy, but I´ll reply tonight...Meanwhile - it seems we´ve occupied Otis Orlando´s original question with another topic. Wouldn´t it be best tosplit this thread from reply #19 onwards into a new one?

Logged

"Those are my principles. If you don't like them I have others." - Groucho Marx

Craig, of course you can use my pictures for your site, but I´ll have to ask for Mr. Baumann´spermission regarding his. Thanks for your link to the CW articles. Once more it´s a minefield...

I´m aware I almost, apart from the word ´presumably´, did the same a few answers ago - basing a maker´s theory on colour schemes. But there´s a difference in Leah´s examplesshe´s already described herself - the yellow interior of the lifelight.And having a closer look I also seem to spot some powder blue spatter in the lifelight, too.(Or do I see some blue in the labelled Rückl, too?)So while the other examples may possibly be by the same maker, there´s more than onedifference to the lifelight. Further these come in other decors / colours which have been usedby Welz - striped uranium and honeycomb pattern.To me there are more details pointing towards Welz than Rückl, although I´m quite fascinatedthey made such a very similar decor.Here´s BTW another vase in these colours - (cadmium) yellow interior, oxblood and powderblue spatter. Shape looks welz-ish to me, but then again... I collect Welz and I want to believe...

Hi… Please this is only an observation IMHO, however if we look at this piece that has a core of yellow, upon which the other colours are applied, then please see this yellow as being an “undercoat” of translucence. Blues for example, will appear more green… Reds will appear to have a more orange depth of colour when placed upon a yellow colour.

It can also be noted that when spatter glass is produced, that often (but not always) other impurities can be picked-up upon the base colour without intension… The occasional dot, splash of non-intended glass can often be observed… I have attached one such example of my own.

Notice the one solitary vivid addition of orange… This surely was totally unintentional by its maker for this piece. It can therefore perhaps be termed as being an impurity in terms of this particular vase? It was not meant. It should not be there. But it is. Internal bubbles, also.

The compatibility of the various colours, together against the base colour batch, will each determine & influence the overall colours of the eventual piece. As will also the application of each colour and/or additonal work such as combing or twisting the glass whilst blowing it into its final shape. This vase for example, has a base batch of white. Had it been RED, the the blues would then be purple! This all has an influence, as so does the final casing (if present, to give emphaise the colours and to provide additional strength) in which with this piece it is cased with clear crystal.

The above is by far of more importance than the shape. The shape of a piece is just that. It is only the colourisation, the variety of it or the texture (?) which then goes on to give a piece its very own individual identity… IMHO. Please. This is just an observation for your appraisal. John.